Cross-dressing Research Articles

TRANSGENDER SHARIA, LEGAL AND SOCIAL STATUS

Transgender is a modern Western term. The word "Transgender" is a combination of two words. Trans means "to move" or "to change", while gender means "sex". The following definition is taken from a United Nations document. A Men or women who deviate from their birth sexual identity and convert their gender Identity. For example, they want to be male or contradictory from a woman, or to be a woman or a male or contradictory or non -sexually man or adopt another modern identity. Some of them resort to medical procedures such as hormone therapy or surgery. They are also called transsexual. And some of them only express gender expression different from their birth gender, i.e., they change shape, cell, clothes, and features. They are also called Cross Dresser. Transgender laws around the world are not designed to protect people who are born transgender or intersex. Because they are born in the same condition medically and physically and statistically their number is very less. In the developed world they do not have the same problems that we have here. Transgender laws in the developed world are designed to protect those who voluntarily change their gender and are not limited to gender choice but extend to sexual orientation. Therefore, homosexuality with transgender is given full protection in the western world. Transgender law, if it is made absolute without including the necessary and Sharia fiefs, is a collection of many forbidden (haram) acts and Islam never allows any Islamic government to implement any such law in its country, rather, implementing and supporting any such law is strictly illegal and forbidden and is a deed that leads to hell.

Aravani as Citizen: The Forging of a Sexual Identity

Aravani is one of the transgender communities (male to female) in the state of Tamil Nadu who considers themselves as females trapped in male bodies. They are not mere cross dressers. Some of them undergo surgeries to realize their dream of becoming a complete female. They worship Aravana or Iravan, the son of Pandava prince Arjuna and Naga princess Ulupi. The Aravanis of Tamil Nadu identify themselves as the third gender like Eunuch, Hijra, Kinnar, Kothi, Shiv Shakthi and Jogappa communities in other parts of India. The Hijra population is the most visible transgender population in India. Much before the historic Supreme Court Verdict of 2014, Hijras were accepted as the third gender in India. While Hijras have mythological, religious, and cultural moorings, it is their search for social and political acceptance that this paper aims to study. Borrowing from mythology, the Tamil transgender community, Aravani, has attempted to carve out its own space within the LGBTQ spectrum. This paper examines the role of the Aravani movement in forging a sexual identity for transgender people and its impact and influence on promoting the rights of transgender people. Autobiographical records from the community and secondary sources with cultural, religious, and mythological references along with articles highlighting social and political developments were studied to map the journey towards a sexual identity. The primary texts used in this study are Our Lives Our Words and The Truth About Me.

“If We Changed Clothes, Sir, We Could Get Things Back to Normal”

“If We Changed Clothes, Sir, We Could Get Things Back to Normal”

A mathematical model for breaching the blockades-mainstreaming transwomen and transmen in Chennai by using block fuzzy cognitive

Primeval history of India, and religious text manifest the close acceptance of “Third gender” in the society. It is only after the colonial interventionism the divide and rule policy of British, transgender were criminalized by passing the “Criminal tribe act of 1871” which created the punishment and fine for cross dressers in public sphere. Study was conducted by employing Quantitative method through which semi-structured interview schedule was used to collect the data from 77 transgender (transwomen (58), transmen (19)) residing in Chennai, Tamil Nadu. Data collected were analyzed using SPSS 21 software, where regression and correlation method has been employed to find out the relationship between the variables. Results shows that Transgender ID card forms the basic identity document to benefit the various amenities of government and Transmen were deserted to get those provisions because of Trans ID card which is not offered to them. Transwomen were fortunate to apply for the subsidy policies of State government, in case of Transmen were struggling to form their individuality within the Transgender community. Study accomplishes with the view that there should be a clarity in the classification and variance between the Transwomen and Transmen, as their transition process differs, so there ought to be strategies to address and satisfy the need of both categories of Transgenders.

Cross Dressing: Forensic Analysis of a Unique Case with Review of Literature

Cross-dressing is the act of wearing garments not commonly linked with one's sex. Cross dressing is done by various persons irrespective of their biological sex for various reasons which may or may not be linked with promiscuous sexual activity. However when such person are found in dead condition, it causes suspicion in the minds of investigating agencies. In the present case we discuss a case of cross dressed person who was found hanged in female attire. There was no evidence of any autoerotic activity nor did he cross dressed for other nonerotic activities such as in movies or theatre acting. In reality he had a desire to be cross dressed as female due to his inclination as a transgender towards it. The current case study and review of literature highlights the importance of recognising cross dressing in the light of various circumstances so as to reach a proper conclusion in various medicolegal cases.

Gendered Guise: Shakespeare’s use of Transvestism and Gender Appropriation in his Plays

Gendered Guise: Shakespeare’s use of Transvestism and Gender Appropriation in his Plays

Lying for Kicks: Queer Cross-Dressers and Hardboiled Squares in Chester Himes's All Shot Up

Lying for Kicks: Queer Cross-Dressers and Hardboiled Squares in Chester Himes's All Shot Up

A Study on 'Cross-Dresser' in Korean Romance Web Novels -focused on the genre of ‘Royal Romance’-

A Study on 'Cross-Dresser' in Korean Romance Web Novels -focused on the genre of ‘Royal Romance’-

젠더, 복장전환 그리고 탈식민주의: 󰡔새로운 해부학󰡕 연구

젠더, 복장전환 그리고 탈식민주의: 󰡔새로운 해부학󰡕 연구

Writing/ Transvestism

Writing/ Transvestism

Getting Located: Queer Semiotics in Dress

From the effeminate Macarconis of the 18th century to the “future is female” shirts of 2017, the fashioned body has conveyed desire, signaled safety, and helped build affinity for queer people. This project will take the shape of a deep excavation and careful consideration of the historical precedence of queers encoding the nuances of dress with a multitude of identity affirming and identity challenging practices. Predominant research on unearthing how queer culture was (and is) expressed through dress had focused on the discernible gestures of normative gay male bodies; from ‘flagging’ (i.e. adorning the body with objects such as keys or handkerchiefs to denote sexual preference) to the rich traditions of cross dressing (i.e. drag). What does it look like to develop a new genealogy of queer visibility and invisibility in fashion? What discursive practices, nuanced modes, and slight twists does dress endure in the hands of queers? Furthermore, this research will examine the way that queer diasporas have played into the matrix of mapping identities that live outside of culturally conditioned notions of home, disrupting ideas of ‘local’ and their concurrent visual signifiers. Like taking a walk with Jose Esteban Munoz and Lauren Berlant, this work will meander down a discursive path, seeking meaning and finding solace in the illegible, from the simple adornment of a jean jacket patch to a perfectly positioned baseball cap.

Internacionais e glamorosas: sobre a carreira das “travestis profissionais”

Resumo: O objetivo deste artigo é analisar as estratégias de agenciamento e as técnicas corporais das “travestis profissionais” a partir das suas circulações e carreiras internacionais. Buscou-se analisar como a experiência de circulação dessas pessoas pela Europa constituiu evento importante para consolidar suas carreiras e construção de si. Foi a partir dessas circulações que essas pessoas puderam travar contato com o mundo das modificações corporais e também construir estratégias de resistência que, a partir do trânsito nas convenções de gênero e classe, possibilitaram a existência de suas formas de vida. Os dados para a escrita deste artigo foram obtidos através de fontes documentais, fotográficas e de relatos de trajetórias de vida das “travestis profissionais” que vivenciaram esses processos. As trajetórias de Rogéria, Eloína dos Leopardos, Marquesa e Divina Valéria foram focalizadas neste estudo.

Travestismo y libertad femenina en el siglo XIX mexicano: la biografía de Catalina de Erauso, la Monja Alférez

en este artículo hago un breve análisis sobre una biografía mexicana de Catalina de Erauso, la Monja Alférez, manuscrito anónimo e inédito del siglo XIX. Destaco la relación amorosa de Erauso con Clotilde durante el viaje de ambas de Jalapa a la Ciudad de México para así mostrar que su estilo y contenido permiten situar al texto dentro del subgénero de novela galante, en boga durante el siglo XIX, cuando también la medicina patologizó el travestismo femenino y el lesbianismo. Sugiero que el texto fue escrito por una mujer, quien podría haber proyectado mediante la vida de Erauso su propio testimonio.

A Study of Transvestites: The Self-Presentation of Bissu

A Study of Transvestites: The Self-Presentation of Bissu

"I Hid Not My Face" : An Essay on Women, Their Beards, and the Promise of Isaiah 50:6

In this paper I explore the theological potential of the trans*formation of the body in popular culture, more specifically, in the performance of drag artist Conchita Wurst (Tom Neuwirth) at the Eurovision Song Contest finale of 2014. Contrary to Dana International, the first (known) trans*woman to win Eurovision for Israel in 1998, Conchita did not 'pass' as either male or female. As a 'bearded lady', she operates on the borderline of the masculine and the feminine, combining the aesthetics of both as she performed the winning song Rise Like A Phoenix. In various media, Conchita was read as a contemporary Christ figure. With her parted long hair, kind eyes, dress and beard she does indeed resemble those representations of Jesus Christ that have become dominant in the 'religious imagery of visual piety' of Western popular culture. Both the performance of the song and Conchita as a stage character play with themes of misrecognition, suffering and resurrection. Read as a 'Christ-like figure' by Eastern Orthodox church leaders, moreover, Conchita was accused of blasphemy. I argue that if we take Conchita seriously as a contemporary Christ figure, she enables us to construct a liberationist theology of uncertainty, in particular the enduring uncertainty of gender-bending. To do so, I will attempt to understand current cross-dressing performances such as Conchita’s from a genealogy of the beard, focusing on the meaning of the beard in biblical times as well as the history of women with facial hair: the archive of the bearded lady. In the Old Testament and in Christian tradition, beards have often been simultaneously one of the most important markers of hegemonic masculinity as well as the site where this masculinity might be jeopardised. In the archive of the bearded lady we find women on the margins of society (funfair 'freaks', witches, old ladies from the countryside) as well as confident queer activists who publicly claim the beard, showing how it fails as the ultimate marker of masculinity.

Lord Fanny, representação queer e um boneco vodu para o mundo

Apresentamos uma analise da construcao da personagem Lord Fanny, da historia em quadrinhos Os Invisiveis , publicada pelo selo Vertigo da editora DC Comics. Escrita por Grant Morrisson, a serie nao apenas foi uma nova abordagem do genero de superherois, como tambem uma transposicao da visao de mundo e das experiencias do autor, com o intuito de transformar nossa propria realidade – nas palavras de Morrisson, uma especie de “boneco vodu”. Lord Fanny, em especifico – uma bruxa travesti brasileira de ascendencia mexicana –, trouxe para os quadrinhos mainstream a experiencia estetica do queer , quebrando o padrao de heteronormatividade comum ao genero e aproximando a proposta da serie a proposicao de Serge Moscovici sobre o papel fundamental da comunicacao de massa na transformacao das representacoes correntes na sociedade. Palavras-chave: historias em quadrinhos, representacao social, queer .

AQUÍ PARLEM ANGLÈS : PARODYING PARANOIA IN CARME RIERA’S L’ESTIU DE L’ANGLÈS

While generally dismissed as light-hearted, Carme Riera’s L’estiu de l’angles not only functions as satire to cross-dressing thrillers but also updates the thriller tropes with twenty-first-century...

RAGAM BAHASA WARIA DALAM SINETRON (SHEMALE LANGUAGE VARIETIES IN SOAP OPERAS)

AbstractShemale Language Varieties in Soap Operas. This study aims to describe and explainthe classification, word formation system, and varieties of language functionstransvestites in private television soap operas in Indonesia. This study uses definitionsof regional variations in sociolinguistics theories and methods of qualitative description.An analysis using the rules of grammar formation transvestite varieties of languageused refers to the rules that have been applied by Oetomo (1988) and Oetomo (2003).The results of this study were 24 classifications, 10 word formation systems, and 2functions in varieties of languages transsexual private television soap operas inIndonesia.Keywords: shemale language, classifications, word formation procedures, and functionsAbstrakRagam Bahasa Waria dalam Sinetron. Penelitian ini bertujuan untuk mendeskripsikandan menjelaskan tentang klasifikasi, tata bentukan kata, dan fungsi ragam bahasawaria dalam sinetron di televisi swasta Indonesia. Penelitian ini menggunakan ancanganteori ragam bahasa dalam sosiolinguistik dan metode deskriptif kualitatif. Teknik analisisdata menggunakan kaidah tata bentukan ragam bahasa waria yang digunakan mengacupada kaidah yang telah diterapkan oleh Oetomo (1988) dan Oetomo (2003). Hasilpenelitian ini adalah 24 klasifikasi, 10 tata bentukan kata, dan 2 fungsi ragam bahasawaria dalam sinetron di televisi swasta Indonesia.Kata-kata kunci: bahasa waria, klasifikasi, tata bentukan kata, dan fungsi

Magnus Hirschfeld’s Interpretation of the Japanese Onnagata as Transvestites

Magnus Hirschfeld’s Interpretation of the Japanese <i>Onnagata</i> as Transvestites

Rereading Transvestism and Desire in Christopher Marlowe's Edward the Second

Rereading Transvestism and Desire in Christopher Marlowe's Edward the Second